Bill Brandt
Shadow & Light
Sarah Hermanson Meister
5
Published in conjunction with the
exhibition Bill Brandt: Shadow and Light,
at The Museum of Modern Art, New
York (March 6August 12, 2013),
organized by Sarah Hermanson Meister,
Curator, Department of Photography.
Major support for the exhibition is
provided by GRoW Annenberg/
Annenberg Foundation, The Robert
Mapplethorpe Foundation, Heidi and
Richard Rieger, Ronit and William
Berkman, and by Peter Schub, in honor
of Anne and Joel Ehrenkranz. Research
and travel support provided by The
International Council of The Museum
of Modern Art.
Additional generous funding for this
publication was provided by the
John Szarkowski Publications Fund.
Produced by the Department of
Publications, The Museum of
Modern Art, New York
Edited by Jason Best
Designed by Beverly Joel, pulp, ink.
Production by Matthew Pimm
Printing and binding by NINO Druck
GmBH, Neustadt an der Weinstrasse,
Germany
Tritone separations by Martin Senn
Directors Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Glenn D. Lowry
Acknowledgments.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Sarah Hermanson Meister
Shadow and Light:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The Life and Art of Bill Brandt
Sarah Hermanson Meister
1 Lo n d o n i n t he Th i rt i es . . . . . . . . . 32
2 No rt he r n E n g l a n d . . . . . . . . . . . . . . . 70
3 Wo r l d Wa r II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4 P o rt r a i ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
5 L a n d sc a pes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
6 Nu d es.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Printed in Germany
Table of Contents
Directors Foreword
Glenn D. Lowry
MEISTER
Acknowledgments
10
11
I.
Bill Brandt 1
12
13
II.
MEISTER
15
8 Many years later Brandt told Man Ray: You went out so often
that I did not learn much from you directly. But what I did was go
through all the drawers and files that I would not have dared touch
when you were in the studio. So I learnt a great deal when you were
not there. Ian Fraser, Bill Brandt in Camera, The World of Interiors,
February 1983: 80; quoted in Delaney, 6263. Man Ray used the
term Rayograph to refer to his cameraless photographs, but more
relevant to Brandts darkroom work, he would use solarization
(which reversed some tones from positive to negative during the
printing process) and various screens to achieve his desired effect
from a given negative.
16
III.
MEISTER
17
18
19
MEISTER
24 Felix Man (born Hans Baumann) and Kurt Hutton (born Kurt
Hbschmann) had both worked for Lorant in Munich and arrived in
London not long after him, at which time they anglicized their
names to help obtain assignmentslike Brandt, understandably
wanting to minimize their affiliation with Germany.
84
3
World War II
85
For decades now, two iconic series of work have stood as synonymous with Bill
Brandts activity during World War II: his photographs of London by moonlight during the Blackout and of makeshift underground shelters during the Blitz. The reality
is that his wartime production was much more varied, which is key to understanding
the overall evolution of Brandts work. By 1939, Brandt could expect regular assignments from the illustrated press, although his editors also drew liberally from work
he had pursued independently. Lilliput published a sequence of Brandts pictures
of London during the Blackout in December 1939, and again in August 1942.1 Brandt
described the appeal of this nocturnal work: Night photography is often a very
leisurely way of taking pictures. The main thing you need is patience. But you also
have plenty of time. After midnight, in particular, there is hardly anybody about, you
can do almost anything without being disturbed. There are rarely any watchers, and
you are seldom troubled even by passing cars. Night photography can indeed be a
quiet and pleasurable sort of game.2
Brandt was commissioned by the British Ministry of Information
to take pictures of the improvised shelters that had appeared in the wake of the
first German air raids on London in September 1940. In early November, Brandt photographed in Tube stations, wine cellars, shop basements, and cryptsanywhere
Londoners sought protection. This project was the antithesis of his moonlit nocturnes, using artificial lighting to document crowded, cramped spaces. The artist
Henry Moore had received a similar commission, and his drawings appeared opposite several of Brandts photographs in Lilliput.3 Moores and Brandts shelter pictures
were also included in the exhibition Britain at War, which was presented at MoMA
from May to September 1941.4
Virtually every retrospective consideration of Brandts work distills
his wartime activity to these two bodies of work, a decision initially made by Brandt
himself in his first retrospective book, Shadow of Light (1966). The remainder of the
plates in this section, considered with the stories listed and reproduced on pages
195203, tell a decidedly more complicated story: almost without exception these
photographs were made for Lilliput, Picture Post, or Harpers Bazaar. Brandt, like every
inhabitant of London, was profoundly changed by the war, and the same was true of
the city itself. He used these assignments to expand his oeuvre: through his portrait
commissions and his photographs of the British landscape, in particular, he found
new ways to position himself as a British photographer.
92
93
98
99
144
6
Nudes
145
If it was Brandts images of London in the 1930s that established his reputation as a
photographer, it was the series of nudes he made in the decades after the Second
World War that solidified his reputation as an artist. The disembodied breasts, knees,
and elbows are at once sensuous and surprisingly chaste, as if the female form were
needed for its graphic beauty, its gender almost accidental. Lawrence Durrell described this quality when he wrote, one forgets the human connotation as if one
were reading a poem.1 For all their flesh, these nudes are not about desire, although
they flirt with fetish. There is an ambivalence that is typical of Brandt, concerned with
neither passion, love, nor hate.2 Their position in the history of the genre is unique.
Brandt made a handful of female nudes before Lilliput published his
first in February 1942, but these adopt tropes that Man Ray (and others) had explored
in the late 1920s. The earliest works that Brandt chose to include in his groundbreaking Perspective of Nudes (1961) date from 1945 and feature nudes in incongruously
domestic interiors at twilight. With a large, wide-angle, fixed-focus mahogany-andbrass Kodak camera designed to inventory estates and crime scenes, Brandt placed
his models in a Victorian wonderland, delighting in his cameras ability to present
the world in a way the eye could not see. He then moved closerthe space and the
figures become more distorted, and one senses a disquieting proximity when one
recalls these are, in fact, pictures of real women. Finally, in the late 1950s Brandt
found that he could use his modern camera to achieve his desired effects on the
rocky beaches of England and France.3
On the occasion of the retrospective he organized of Brandts
work in 1969, John Szarkowski wrote of the nudes: These picturesat first viewing, strange and contortedreveal themselves finally as supremely [poised] and untroubled works. In photography only Edward Weston has made nudes of equal
power. A comparison is instructive. The models in Westons pictures retain a degree
of their identity; they remain, in part, specific women seen in the sunlight of specific
fine mornings. Brandts late nudes in contrast seem to be no women and all women,
as anonymous and as moving as a bleached and broken sculpture, fresh from the
earth.4 This reference to the sculptural quality of Brandts nudes is an apt one. The
connection between Brandt and Henry Moore was first established by their shared
fascination with sleeping figures in the makeshift underground shelters during the
Blitz, and their friendship grew from there. Brandt photographed the sculptor more
than any other artist, and the resonance between their biomorphic forms in two and
three dimensions enhances the appreciation of both artists work.
146
147
Nude. 1953
162
163
London. 1952
180
181
190
Additive
Techniques
Additive techniques are marks added to
the surface of the photograph to modify
the image. Marks can be added with
a brush, graphite, or porous pointed pen.
They can be dabs or spots, linear or in
patches of black, blue, white, or gray.
Some inks or dyes may fade over time,
rendering the retouched area more
visible than when the marks were first
applied. Washes were a particularly
favorite medium for Brandt, found on
forty percent of the prints examined at
MoMA; he employed graphite and
porous pointed pen as well.
191
wash
white gouache
Detail of Jean Dubuffet (1960, p. 121, right). The field
of view is 6 cm x 6 cm
graphite
graphite
Detail of Barmaid at the Crooked Billet, Tower Hill.
The field of view is 4 cm x 4 cm
illustrated glossary
transparent wash
Detail of Vastrival Beach, Normandy (1954, p. 178).
The field of view is 1.7 cm x 1.7 cm
graphite
Detail of Vastrival Beach, Normandy. The field of
view is 1 cm x 1 cm
194
195
Gustav Dors
London Rediscovered
by Bill Brandt in 1938
verve
JanuaryMarch 1939: 10714
Three of Brandts photo
graphs are paired with Dor
engravings from the 1870s.
In May 1939, Lilliput would
expand this concept to
include seven pairings, calling
the story Unchanging
London, Brandts second
Bill Brandts
Published Photo-Stories
19391945
Sarah Hermanson Meister and Marley Blue Lewis
p. 47
MEISTER
196
197
picture post
January 28, 1939: 3437
The first of four Picture Post
Day in the Life of features
for Brandt. The surrealist
commercial artist, whom we
see painting the artists
model, is Rolf Brandt, Bills
brother. This story would be
followed by Nippy. The
Story of Her Day... (March 4,
1939) (a nippy being a
nickname for waitresses who
worked in J. Lyons & Co.
brand tea houses around
England); A Barmaids Day
(April 8, 1939), featuring Alice,
the barmaid at the Crooked
Daybreak at the
Crystal Palace
picture post
A series of eight
photographs taken in the
gardens of the Crystal
Palace. In these pictures,
Brandt experimented with
perspective and cropping
to create a surreal effect
for the overgrown and
decaying statues.
Blackout in London
picture post
This story contains images
by Brandt of children
living in squalor and dire
conditions in Londons
East End neighborhood,
illustrating an article about
rent strikes and poverty. It
marks one of Brandts last
social critiques published
before Britain declared war
on Germany, after which
Picture Post maintained a
stalwart position focused
on publishing nationalistic,
morale-boosting stories
on the home front.
lilliput
England at War:
Life Goes On in the Dark
life
Twenty-Four Hours in
Piccadilly Circus
lilliput
September 1939: 23340
Here Lilliput adopts the
chronoglogical sequencing
of A Night in London from
the previous year, following
a formula that Picture Post
had used.
Autumn in a
Forgotten Wood
lilliput
A Simple Story
about a Girl
p. 88
Nightwalk a dream
phantasy in photographs
picture post
picture post
coronet
lilliput
September 1941: 23542
I Look at Bournemouth
by J. B. Priestley
picture post
picture post
picture post
July 5, 1941: 1317
published photo-stories
206
B oo ks by t he
A rt i st
The English at Home. Introduction
by Raymond Mortimer. London:
B. T. Batsford Ltd., 1936.
A Night in London. Introduction
by James Bone. London:
Country Life; New York: Charles
Scribners Sons, 1938. Published
as Londres de Nuit, with introduction by Andr Lejard, Paris:
Arts et Mtiers Graphiques, 1938.
Camera in London. Introduction
by Bill Brandt and text by
Norah Wilson. London: The
Focal Press, 1948.
Literary Britain. Introduction by
John Hayward. London: Cassell
and Company Ltd., 1951.
Perspective of Nudes. Preface by
Lawrence Durrell and introduction by Chapman Mortimer.
London: The Bodley Head; New
York: Amphoto, 1961. Published
as Perspectives sur le Nu, Paris:
Les ditions Prisma, 1961.
Shadow of Light: A Collection
of Photographs from 1931
to the Present, first edition.
Introduction by Cyril Connolly
and notes by Marjorie Beckett.
London: The Bodley Head;
New York: The Viking Press,
1966. Published as Ombres
dune le: Une collection de
photographies de 1931 nos jours,
with introduction by Michel
Butor, Paris: ditions le
Blier-Prisma, 1966.
B oo ks a bou t
t he A rt i st
Bill Brandt. Introduction by
Norman Hall. New York and
London: Marlborough, 1976.
Bill Brandt: A Retrospective
Exhibition. Foreword by Valerie
Lloyd and introduction by
David Mellor. Bath, United
Kingdom: The Royal
Photographic Society, National
Centre of Photography, 1981.
Bill Brandt. Introduction and
afterword by Mark HaworthBooth. Milan: Gruppo Editoriale
Fabbri S.P.A., 1982 (Italian
edition); Paris: Union des
Editions Modernes, 1984 (French
edition).
207
P hoto C r e d i ts
All works by Bill Brandt are 2013
Bill Brandt Archive Ltd.
Unless listed below, photographs of
works of art reproduced in this volume
have been provided by the owners or
custodians of the works, who are
identified in the captions or in the list
of plates.
Individual works of art appearing here
may be protected by copyright in the
United States or elsewhere and may
not be reproduced without the
permission of the rights holders. In
reproducing the images contained in
this publication, the Museum obtained
the permission of the rights holder
whenever possible. Should the
Museum have been unable to locate a
rights holder, notwithstanding goodfaith efforts, it requests that any
contact information concerning such
rights holders be forwarded, so that
they may be contacted for future
editions.
Selected
Bibliography
All books listed in chronological order
MEISTER
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